I’m now just about recovered from the jet lag after returning from an amazing two weeks away in Asia, and through the blur have been reflecting on what it was I experienced.

It started with a trip with the British Council to speak at PAMS (Performing Arts Market Seoul). If you’ve not been to an arts market before, imagine loads of companies, big and small, who have travelled internationally to be there and promote their work to anyone who will stop at their stall to listen. Of course, as well as companies and artists, there are also programmers and producers looking for the best work to invite to their festival or venue. It's a fantastic opportunity to mix with people form all over the world in one room, sometimes for the first time, but for me it also gave me the chance to catch up with some contacts in Australia and the Nordic countries as well as make some new one in Asia. After traipsing around the market there are lots of performances that make up a showcase and (most importantly) PARTIES every night (which is where the real work is done). Fab!

I was part of a delegation hosted by the British Council, invited over to speak about the work we do on artist development. As well as me, there was Paul Russ, Artistic Director and Chief Exec of Dance4 in Nottingham, and Katie Catling, Programme Manager of Northern Stage. We were very well looked after by Carole McFadden from BC’s London office who is a drama and dance adviser to South East Asia, China and the Middle East (not much then – and I think I’ve left some countries out). Plus, the gorgeous Yoonjoe Park BC South Korea and Sunyoung Shin. They together made sure we were in the right place at the right time, fed, watered and on the ball.

So what did I learn? Too much. I really did. Korea is a fantastic country full of wonderfully open-minded, curious and enthusiastic people. There is a lot of investment in the arts scene, so refreshing to hear when compared to the usual headlines in our own budget slashing climate. More than that though, the investment in Korea isn’t just coming from public funds, but from big business supporting the growing cultural industries. Ever heard of LG? They manufacture TVs, mobile phones and all sorts of other digital gadgetry? They have a beautiful beast of a building; the LG Arts Centre that also houses the company’s head offices – arts truly at the heart of their business, presenting large international companies including Robert Lepage, Matthew Bourne, Declan Donnellan’s ‘The Tempest’ etc. Doosan (manufacturers of heavy industrial machinery) have an arts c..., right in the Centre of Seoul. They have several theatres and galleries the one complex including 200 seat theatre space reserved purely for propagation of new ideas and artists, supporting a comprehensive programme of artist support. And they are not the only ones. So fantastic facilities and budgets to match, pretty good so far.

As well a remaking the classics for a contemporary, Korean audience; interest in and support for new and emerging arts practice is high on the agenda. I met with Seunghyo Lee the new artistic director of Festival Bo:m: Korea’s premiere festival for new and emerging arts practice. The festival currently takes place in Seoul but Seunghyo has plans to expand into Japan next year, no mean feat. Festival Bo:m is committed to introducing new artists to the Korean and international scene whilst taking a unique approach to the Asian context. I saw a piece of work that was part of Bo:m’s programme a couple of years ago – easily my favourite performance of the trip – a creative response to the isolating ideologies of North Korea, full of vigour, rebellion and charm: Pizza for the People. I’m really looking forward to the release of the festival programme for next year and really need to find a way to wangle another trip out there…

Their audience base is in a good position too. Where the arts in the UK, set against the backdrop of an ageing population, has had to work hard to engage younger audiences – Arts Council England for example launched ‘a night less ordinary’ 5 years ago, to encourage increased levels of attendance for those aged 16-25 through a programme of subsidised ticketing – the general age of those attending arts events in Korea is between 20-35. The gender balance though is not so different with the fast majority (80 present) of those attending being female. Some work to do there then, but still in a promising position for the future.

The political context of South Korea is so fascinating. The end of censorship in South Korea happened only a matter of years ago and as a result young companies are exploring ways to talk about their country’s history and the lives of those who lived through very bleak times. Of course South Korea is cut off from the rest of the Asian landmass due to its closed, communist sibling to the north (an ever-present shadow on the lives of South Korean’s looking to engage wherever possible with the rest of the world). There are also significant tensions between other neighbouring countries: Japan, China, and Taiwan for example, born from historic events and from Korea’s increasing economic strength. It feels very much that the future for South Korea will be, in part, determined by the way they negotiate these relationships, and by no means is that purely in relation to the development of the country’s arts scene. There are some programmes looking to address this including co-productions and collaborations between artists/organisations based in these countries (I saw Kamome, a production based on Checkov’s ‘The Seagull’ set during the Japanese colonial rule over Korea, a collaboration between a Korean playwright and Japanese Director). R:ead is a great example of some of this work which encourages dialogue between artists in East Asia and Festival Bo:m’s expansion across the Japanese sea in the future, will I’m sure contribute to this effort as well as their commitment to inviting artists from the East Asia region to contribute to the programme.

I have to say that this is just the basic big picture stuff. What I learnt from things happening on the periphery, from the many small conversations, and the general vibe of the country, really did make feel like one of the most exciting places. With great facilities, investment, freedom in artistic practice and a developing audience: if I were an artist in Asia right now, I’d want to be an artist in South Korea.

THis was only half of my trip. I'll follow up soon with info on Japan...